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What Is The Last Score You Listened To? (older scores)


Ollie

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Willow by James Horner

I haven't listened to this in ages. I've forgotten how bloody fantastic it is! And yes, I'm still taking into account all the plagiarism issues.

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I'm listening to the Superman "Blue Box" up and down, inside out, for days and days now. So much fun, goosebumps and chills in that small cardboard box! Timeless music by Williams, and the sequels are wicked fun.

Hard to imagine that 50 years from now on, a label will produce such a box adding Man Of Steel, and young folks will wonder where it all went wrong.

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Also listened to bits and bobs of Superman Blue Box earlier today. And yes, I concur - fantastic stuff.

Karol - who enjoys Willow as well (wouldn't mind seeing it expanded and remastered, actually)

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I'm listening to the Superman "Blue Box" up and down, inside out, for days and days now. So much fun, goosebumps and chills in that small cardboard box! Timeless music by Williams, and the sequels are wicked fun.

Hard to imagine that 50 years from now on, a label will produce such a box adding Man Of Steel, and young folks will wonder where it all went wrong.

Young folks will love it just as much, if not more, so I doubt they will wonder "where it all went wrong"...

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Back to the topic: I must say The Hobbit album holds up beautifully. Because of its 2-hour running time I don't have time to listen to it often.

Karol - who

I actually finished working on a 2-Disc version of Fellowship of the Ring, in the style of the Hobbit album, with filler removed, and cherry picking versions.

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He thought it sounded "too familiar".

One of the reasons I found The Hobbit so irresistable. It certainly sounded familiar but there was also a great deal of new invention as well. Also thanks to this discussion I took a listen of the score during the weekend. What an entertaining listening experience and a fun emotional roller coaster ride it was.

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He thought it sounded "too familiar".

Nah I thought it sounded almost exactly the same. For some reason hearing the new arrangements of older themes (ad nauseam) was never as interesting as it was to hear JW reprise his key melodies and reshape them into different colours and flavours throughout the original Star Wars trilogy.

Shore did a solid job, but I'd already heard a lot of it before (I was obsessed with LotR for about five years). His Middle-Earth record was played out, sorely lacking in fresh material; bar a couple of highlights (Goblin town).

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The Adventures of Tintin: The Secret of the Unicorn by John Williams

Angels in America by Thomas Newman: What a brilliant score, offering the whole spectrum of the best the composer has to offer in a 70 minute package. I just wish there was more of this, more variations on the main title theme etc.

Shawshank Redemption by Thomas Newman: Still one of the top Newman scores. Rather restrained affair yet has odd spell binding quality to it and as usual creates a singular mood, plus this score contains surprisingly strong thematic backbone with several motifs reprised at suitable intervals.

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Superman: The Movie and Superman IV and Supergirl - three awesome Super-based scores

Skyfall and The Good German - the latter seems to be one of the best imitations of Golden Age sound I've ever heard

:music:Cutthroat Island (Prometheus 2 CD edition): Actually, I think I might like this version better, it does add some (pardon the word) subtlety to this work, not completely unlike La-La Land's Independence Day. As much as I can agree over two hours of this can make one deaf, there is a pretty clear architecture behind complete work, which I find appealing. Not the most or original of blockbusters, but very entertaining.

Karol

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:music:Cutthroat Island (Prometheus 2 CD edition): Actually, I think I might like this version better, it does add some (pardon the word) subtlety to this work, not completely unlike La-La Land's Independence Day. As much as I can agree over two hours of this can make one deaf, there is a pretty clear architecture behind complete work, which I find appealing. Not the most or original of blockbusters, but very entertaining.

Karol

Yeah agree that it is better in the full form, which does reveal more subtleties and gives breathers between the relentless epic action sequences.

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Clear-and-Present-Danger-1994-Complete-E

JAMES HORNER: Clear and Present Danger.

A great compendium of Horner manierisms, from a time when he actually improved on the source material, here i. e. COMMANDO and 48 HOURS. There is only one vaguely essential piece on the Intrada that Milan omitted called WOODWORK, a 5-minute action piece that is great fun but reeks of ghostwriting (there is a paunchy trombone version of the noble main theme, which smells like a minion having fun with the bosses car).

If you don't have it, a few select pieces, the 10-minute AMBUSH towering above them all, are great and collection-worthy (ranging from flagwaving americana to slambang action writing with a good dose of Shostakovitch), most of the rest is serviceable creeping-around-agency-floors stuff not really worth listening to (plus Horner noodling on his bad synths too much). Horner supposedly wrote this in a few days, which is remarkable, if we count out the occassional ghostwriting. Sound quality is much improved, though.

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:music:Cutthroat Island (Prometheus 2 CD edition): Actually, I think I might like this version better, it does add some (pardon the word) subtlety to this work, not completely unlike La-La Land's Independence Day. As much as I can agree over two hours of this can make one deaf, there is a pretty clear architecture behind complete work, which I find appealing. Not the most or original of blockbusters, but very entertaining.

Karol

You don't think the 2CD Independence Day adds subtlety to the score?

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I haven't listened to ID4 in a while.... damn I wish it was on Spotify. Well the OST is, but I wish the studios would start releasing all the expanded scores the labels have done digitally.

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Yes of course, but at work I generally just listen to Spotify all day, it's the easiest thing. I don't have my entire CD collection digitized (though I do have an ipod big enough to hold it all)

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The specialty labels have nothing to do with the digital releases of these scores. They are controlled by the studios.

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Are we not friends on Facebook? I've linked a few playlists from there

Here's my playlist of every 2013 film score I could find on there:

2013 film scores

Here's a playlist I am working on of the best film score tracks of the 2010s

Best Film Score Tracks of the 2010s

It's really limiting not having Varese Sarabande scores on Spotify, so much Giacchino I would add to that one...

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The specialty labels have nothing to do with the digital releases of these scores. They are controlled by the studios.

True, but why would studio's do that? The revenue for them would not be very high. Especially if they put them on Spotify.

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Listened to Close Encounters of the Third Kind in it's entirety Saturday.

Magnificent, astounding, masterpiece. All apply.

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Are we not friends on Facebook?

lol no

Here's a playlist I am working on of the best film score tracks of the 2010s

Best Film Score Tracks of the 2010s

oh, nice. I'll check that out.

Thanks, and I'd love to be suggested more tracks to add to it!

BTW I'm at http://www.facebook.com/jasondleblanc/ if you want to friend me on FB

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Greatest film Spielberg ever made, along with A.I.

very few would agree with you, especially that part about A.I., it's a very much disliked film.

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actually it is both Lee, many like it, but it seems most people outside the internet really dislike it. I don't know a single (real) person who does like it.

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The Village by James Newton Howard: Took another listen after quite a while. Spellbinding, hypnotic, atmospheric, lyrical, haunting. Hilary Hahn's solos are a highlight and contain such beautiful lyrical quality and fragility, creating much of the romantic appeal of the work, which is in essence is a love story. I always seem to connect this score so very strongly with autumn, the subdued and nostalgic musical landscape evoking to me that time of the year with perfection. I would say this is among my top-5 JNH scores. Sadly the modern ouput of the composer is not anywhere near this level of film music magic.

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Yeah. 1999-2010 is like 11 years of perfection for JNH, and then it all gets thrown out the window. It's still hard to grasp as I discovered him and experienced all his new music through those years. Now I don't even look forward to his new stuff.

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